THE SOPRANO TROMBONE HOAX* - (ASU) Trombone Studio
THE SOPRANO TROMBONE HOAX* - (ASU) Trombone Studio
THE SOPRANO TROMBONE HOAX* - (ASU) Trombone Studio
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138<br />
HISTORIC BRASS SOCIETY JOURNAL<br />
<strong>THE</strong> <strong>SOPRANO</strong> <strong>TROMBONE</strong> HOAX *<br />
Howard Weiner<br />
The soprano or discant trombone is the stepchild of the trombone family. Developed<br />
late in comparison to the other trombones, it hardly found employment by composers of<br />
stature; only Johann Sebastian Bach called for a soprano trombone in three of his cantatas.<br />
By chance and through the absence of historical knowledge in following generations, however,<br />
Heinrich Schütz, Christoph Willibald Gluck, and Wolfgang Amadeus Mozart were<br />
also brought into connection with this instrument. Thus, in the nineteenth and twentieth<br />
centuries various false “facts” concerning the soprano trombone have made the rounds. In<br />
concentrated form, they are to be found in Posaune, the eighth volume of Hans Kunitz’<br />
series Die Instrumentation, first published in 1959 by Breitkopf & Härtel. 1 Kunitz, however,<br />
did not content himself with a simple retelling of the usual legends, but added his own<br />
embellishments. In spite of the obvious source-historical problems in Kunitz’ book, other<br />
writers have apparently considered it to be credible, repeatedly employing it as a source for<br />
their own publications. More recently, additional works betraying Kunitz’ influence have<br />
appeared, including the article “Posaune” in the new MGG. 2 Besides pricking the bubble<br />
of Kunitz’ hoax, I will also present early references and sources that may help us form a<br />
new, more accurate picture of the soprano trombone.<br />
In attempting to verify Kunitz’ information, one is immediately confronted by a lack<br />
of source references. The reason for this is simple: Little of what Kunitz writes about the<br />
history of the trombone is based on historical fact. Let us take, for example, the very first<br />
sentence of his version of the soprano trombone’s “historical development”:<br />
The soprano trombone, also called discant trombone, has belonged to the<br />
trombone family from the very start, thus at least since the beginning of the<br />
sixteenth century. 3<br />
There is no evidence to support this assertion. Neither graphic depictions nor written<br />
descriptions of soprano trombones exist from the sixteenth century. Instruments as well<br />
as a dedicated repertoire are likewise completely lacking. But even where Kunitz’ source is<br />
evident, one has to be very careful:<br />
Since the beginning of the seventeenth century, one differentiated between<br />
the following types of trombone:<br />
1. <strong>Trombone</strong> Soprano = Soprano (Discant) <strong>Trombone</strong><br />
2. <strong>Trombone</strong> Alto also called Trombonino or Tromboncino = Alto <strong>Trombone</strong><br />
3. <strong>Trombone</strong> Tenore also called Gemeine Rechte Posaun or Tuba minor = Tenor<br />
<strong>Trombone</strong>
4. <strong>Trombone</strong> Basso also called <strong>Trombone</strong> grande or <strong>Trombone</strong> majore or Tuba<br />
major = Bass <strong>Trombone</strong>, Quart <strong>Trombone</strong>, Quint <strong>Trombone</strong><br />
5. <strong>Trombone</strong> doppio also called Oktavposaune or Tuba maxima = Contrabass<br />
<strong>Trombone</strong> 4<br />
139<br />
Kunitz does not cite a source for this list, but the terminology points to Michael Praetorius’<br />
Syntagma Musicum, 5 this, of course, being the only early seventeenth-century source<br />
that provides such an itemization. The following table shows the similarities and, more<br />
importantly, the differences:<br />
Praetorius<br />
1. Alt oder Discant Posaun<br />
Trombino<br />
Trombetta picciola<br />
2. Gemeine rechte Posaun<br />
Tuba minor<br />
Trombetta<br />
<strong>Trombone</strong> piccolo<br />
3. Quart-Posaun<br />
Trombon grande<br />
<strong>Trombone</strong> majore<br />
Tuba major<br />
Quint-Posaun<br />
4. Octav-Posaun<br />
<strong>Trombone</strong> doppio<br />
Tuba maxima<br />
la trombone all Ottava basso<br />
WEINER<br />
Kunitz<br />
1. <strong>Trombone</strong> Soprano<br />
Sopranposaune<br />
Diskantposaune<br />
2. <strong>Trombone</strong> Alto<br />
Trombonino<br />
Tromboncino<br />
Altposaune<br />
3. <strong>Trombone</strong> Tenore<br />
Gemeine Rechte Posaun<br />
Tuba minor<br />
Tenorposaune<br />
4. <strong>Trombone</strong> Basso<br />
<strong>Trombone</strong> grande<br />
<strong>Trombone</strong> majore<br />
Tuba major<br />
Baßposaune<br />
Quartposaune<br />
Quintposaune<br />
5. <strong>Trombone</strong> doppio<br />
Oktavposaune<br />
Tuba maxima<br />
Kontrabaßposaune<br />
As one can see, Kunitz’ designations for tenor, bass, and contrabass trombones are largely<br />
identical to those given by Praetorius. But something strange has happened with Praetorius’
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HISTORIC BRASS SOCIETY JOURNAL<br />
Alt oder Discant Posaun. The terms no longer agree, and one instrument has become two:<br />
The “alto or discant trombone” has become an “alto and a discant trombone.” In this manner,<br />
the four types of trombone specified by Praetorius become five in Kunitz.<br />
Since Kunitz is not the only one who has had trouble interpreting Praetorius correctly,<br />
it may be worthwhile to examine the original. On page 31 of the second volume of<br />
Syntagma Musicum, we read:<br />
Posaun ... deren seynd viererley Arten oder Sorten [<strong>Trombone</strong>s ... of which<br />
there are four types or sorts] (Figure 1).<br />
Figure 1<br />
Michael Praetorius, Syntagma musicum II (Wolfenbüttel, 1619), p. 31.<br />
On page 20 a chart of ranges shows “a complete set”:<br />
Ein ganz Accort. Tromboni: Posaunen. 1. Sort: Octav Posaun. 2. Sort: Quart<br />
Pos[aun]. 3. Sort: Gemeine oder rechte Posaun. 4. Sort: Alt Pos[aun] (Figure 2)
And on page 13:<br />
WEINER<br />
Figure 2<br />
Praetorius, Syntagma musicum II, p. 20.<br />
Ein Accort od’ Stimmwerk von Instrumenten, helt in sich etliche unterschiedliche<br />
Sorten: Nemlich ... Viererley (Sorten / die) Posaunen: [A set or<br />
whole consort of instruments consists of various sorts: Namely ... sets with<br />
four sorts / the trombones:] Alt Posaun, Gemeine rechte Posaun, Quart<br />
Posaun, Octav Posaun (Figure 3).<br />
141
142<br />
HISTORIC BRASS SOCIETY JOURNAL<br />
Figure 3<br />
Praetorius, Syntagma musicum II, p. 13.
143<br />
It should also be noted that the “Theatrum Instrumentorum” appended to Syntagma Musicum<br />
II contains illustrations of only these four types of trombone. In short, the soprano<br />
trombone is neither mentioned nor depicted in Praetorius, and is also not to be found in<br />
any other source from the beginning of the seventeenth century. 6<br />
This, however, does not stop Kunitz from blaming Praetorius for the instrument’s lack<br />
of use:<br />
The soprano trombone, also called discant trombone, has belonged to the<br />
trombone family from the very start, thus at least since the beginning of the<br />
sixteenth century. After a relatively short time, however, it fell into a sort<br />
of “disrepute” among instrumentalists and, as a result, also in the specialist<br />
literature, something that has not been rectified to the present day. As early as<br />
1618 Praetorius declared that the soprano trombone was “insufficient in sound<br />
and technique.” And this judgement, which is found in such an important<br />
and authoritative work as his “Syntagma Musicum,” has been uncritically<br />
accepted throughout all the following centuries, and indeed, not only in the<br />
specialist literature, but also by composers and instrumentalists. 7<br />
And in another passage,<br />
WEINER<br />
The reason given by Praetorius, that the soprano trombone was not equal to the<br />
other trombones in sound and technique, cannot be considered correct. 8<br />
Apart from the fact that Praetorius was not talking about the soprano trombone at all,<br />
this interpretation is rather arbitrary. Actually, Praetorius’ original text reads quite a bit<br />
differently (Figure 1):<br />
Alto or discant trombone: ... with which a melody can be played very well<br />
and naturally, although the sound in such a small corpus is not as good as<br />
when the tenor trombone, with good embouchure and practice, is played<br />
in this high register. 9<br />
One will also search in vain for the “judgement” that the soprano trombone was “insufficient<br />
in sound and technique”—a “judgement” that Kunitz puts into Praetorius’ mouth.<br />
This quotation actually stems from Hermann Eichborn, and is found on page 23 of his<br />
book Die Trompete in alter und neuer Zeit, published in 1881. 10<br />
But Kunitz also identifies other guilty parties:<br />
The real reason for its infrequent use undoubtedly lay in the lack of ability<br />
and readiness on the part of musicians to occupy themselves with the<br />
instrument. 11
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HISTORIC BRASS SOCIETY JOURNAL<br />
Now the “truth” comes out! The musicians are the villains in this piece. They refused to play<br />
an instrument for which the composers had not written any music, an instrument that did<br />
not even exist for much of the period in question. “The indolence and insufficient technical<br />
ability” 12 of these musicians is hardly to be believed. And as if that were not enough,<br />
As the cornett, during the Renaissance technically improved, but still very<br />
mediocre in terms of sound quality, came more and more into use during<br />
the Baroque period, instrumentalists often made it easy for themselves and<br />
simply employed the cornett, with its easy-to-play fingering system, instead<br />
of the difficult-to-use soprano trombone. 13<br />
It apparently rankles Kunitz that another instrument occupies the position he would liked<br />
to see occupied by the soprano trombone:<br />
In those cases in which the cornett is employed as the highest voice of a closed<br />
trombone group, it is in fact a makeshift solution [italics original]. 14<br />
He even speaks of<br />
the vulgar, base, and dull sound of the primitive cornett. 15<br />
And when Kunitz refers to the cornett as an instrument that has been “declared unusable<br />
for art music,” as he does on page 798, one has only to turn back one page to determine<br />
that it was Kunitz himself who declared,<br />
In view of all this, the cornett cannot at all be considered an instrument<br />
appropriate for art music. 16<br />
We do not want or need to defend the honor of the cornett here. The relevant historical<br />
sources, not to mention present-day performers such as Bruce Dickey, Jean Tubéry, and<br />
William Dongois, give eloquent testimony as to the qualities and possibilities of this instrument.<br />
17 The cornett came upon the scene almost two hundred years before the soprano<br />
trombone, and was demonstrably required and employed as the highest voice of the “closed<br />
trombone group.” The cornett did not supplant the soprano trombone, nor did the soprano<br />
trombone supplant the cornett.<br />
Nevertheless, an instrument has to have something to play, so Kunitz attempts to<br />
conjure up a repertoire:<br />
The great masters, such as Schütz, Bach, Gluck, and Mozart employed the<br />
soprano trombone in the four-part trombone group usual at that time, and<br />
indeed until the end of the eighteenth century. 18
With this statement Kunitz calls up four of the most important composers of the seventeenth<br />
and eighteenth centuries as witnesses for his hoax.<br />
And<br />
WEINER<br />
The soprano trombone was initially a full-fledged member of the trombone<br />
group, as can be recognized from the works of Heinrich Schütz, in which<br />
the closed, four-part trombone group, made up of soprano, alto, tenor, and<br />
bass trombones, is to be found. 19<br />
As already stated ... the four-part group with the soprano trombone still<br />
predominated in the works of Heinrich Schütz. 20<br />
145<br />
But just how “predominant” is the “four-part trombone group” in the works of Heinrich<br />
Schütz? Schütz called for trombones in thirty-two works, of which nineteen have a threepart,<br />
and only seven a four-part trombone group. And none of these seven works require<br />
a four-part trombone group with soprano, alto, tenor, and bass trombones.<br />
For Kunitz, the combination of soprano, alto, tenor, and bass clefs is the “usual manner<br />
of notation” 21 for the “centuries-old, traditional, pure four-part trombone group.” 22 My<br />
research has turned up seventy-three four-part trombone groups in sixty-eight instrumental<br />
and vocal works of the sixteenth and seventeenth centuries, with a total of fifteen different<br />
clef combinations. The most frequent was the combination alto-tenor-tenor-bass, which<br />
appeared twenty-three times. Kunitz’ “usual manner of notation” did not turn up at all.<br />
It should be noted, by the way, that one cannot infer the intended instrument simply<br />
from the clef of the part. A part in alto clef, for instance, does not necessarily demand an alto<br />
trombone. Much more important is the tessitura. For example, although many of Schütz’<br />
“high” trombone parts are notated in alto clef, all but a few remain within the range given<br />
by Praetorius as normal for the tenor trombone—E - a’ (See Figure 2).<br />
An ensemble of soprano, alto, tenor, and bass trombones, notated in Kunitz’ “usual”<br />
clef combination, is found in three cantatas by Johann Sebastian Bach: Ach Gott, vom Himmel<br />
sieh’ darein (BWV 2), Ich hatte viel Bekümmernis (BWV 21) and Aus tiefer Not schrei’<br />
ich zu dir (BWV 38). Strangely only Cantata 2 attracts Kunitz’ attention; Cantatas 21 and<br />
38 are simply ignored. Instead, Kunitz attempts to smuggle the cantatas Sehet, welch’ eine<br />
Liebe (BWV 64) and Also hat Gott die Welt geliebt (BWV 68) into the canon of works with<br />
soprano trombone, although the highest parts of these works are labeled cornettino and<br />
cornetto, respectively. Kunitz’ reason?<br />
Bach is to be considered one of the last representatives of the pure four-part<br />
trombone group, employing the real trombone family, reaching from the<br />
soprano to the bass instruments, whose usual notation: [soprano, alto, tenor,<br />
bass clefs] also predominates in his scores where he employs trombones, even<br />
when he sometimes ... labels the highest part with “cornetto.” 23
146<br />
HISTORIC BRASS SOCIETY JOURNAL<br />
Figure 4<br />
J.S. Bach, Also hat Gott die Welt geliebt (BWV 69), autograph parts, Corno (mvt. 1) and<br />
Cornetto (mvt. 5). (Leipzig, Bach-Archiv).
WEINER<br />
147<br />
If we apply Kunitz’ own criterion, however, we would automatically have to disqualify the<br />
highest part of Cantata 68 as a soprano trombone part. This autograph cornett part is not<br />
in soprano, but treble clef (Figure 4). The highest part of Cantata 64, labeled cornettino,<br />
also lacks a characteristic typical of a Bach trombone part: unlike all of Bach’s authenticated<br />
trombone parts, this one is not transposed. 24<br />
But why does Kunitz ignore Cantatas 21 and 38, even though both offer authentic<br />
soprano trombone parts?<br />
It should be noted that the “cornetto” parts in Bach’s cantatas were indeed<br />
written for the Stadtpfeifer cornett in those cases in which they support,<br />
with simple sustained tones, the cantus firmus of the choir, without organic<br />
relationship to the trombone parts. 25<br />
Accordingly, in Kunitz’ view the cornetto and soprano trombone parts with a cantus firmus<br />
or simple chorale melody are actually cornett parts, and the cornetto and cornettino parts<br />
with numerous fast notes are actually soprano trombone parts!<br />
In any case, especially at the beginning of the eighteenth century, the instrumentalists’<br />
arbitrary practice of simply substituting the cornett for the<br />
specified, but technically more difficult to control, soprano trombone had<br />
become so widespread that not only was a genius like Johann Sebastian Bach<br />
forced to make concessions in order to secure a performance of his cantatas,<br />
but at times the soprano trombone itself was designated as “cornetto.” 26<br />
These absurd assertions surely do not require comment. The last of these, however, comes<br />
up again in connection with Christoph Willibald Gluck:<br />
Thus Gluck too made use of the soprano trombone under the name Cornetto<br />
in the Italian version of the score of his Orpheus. 27<br />
Exceptionally, Kunitz cites a seemingly reliable source here, namely Hector Berlioz, who<br />
in his Grand Traité d’Instrumentation from 1843 did in fact state:<br />
Only Gluck, in the Italian score of Orfeo, wrote for the soprano trombone,<br />
under the name Cornetto. 28<br />
I must admit that I was rather astonished when I first read this. But Berlioz too was only<br />
human, and humans can err. In 1862, nineteen years after his treatise appeared, Berlioz<br />
published an essay about the 1859 production of Orfeo at the Théâtre Lyrique, in which<br />
he wrote,<br />
At the time in which Gluck wrote Orfeo for Vienna, a wind instrument
148<br />
HISTORIC BRASS SOCIETY JOURNAL<br />
was in use that even today is employed in some churches in Germany to<br />
accompany the chorales, and is called the cornetto. It is made of wood, has<br />
a conical bore and is played with a mouthpiece of brass or horn similar to<br />
that of a trumpet.<br />
In the religious funeral ceremony held at Euridice’s grave, in the first act of<br />
Orfeo, Gluck combined the cornetto with three trombones to accompany<br />
the four parts of the choir. 29<br />
And the soprano trombone sneaked out the stage door. At first glance, Mozart’s Mass in C<br />
Minor, K. 427, would also seem to provide evidence for the use of the soprano trombone.<br />
But when Kunitz claims that Mozart “explicitly labeled the trombone parts as Posaune I<br />
- IV,” 30 he is again fantasizing. In his autograph score, Mozart signaled where the trombones<br />
were to play and pause by means of appropriate indications in the vocal parts. Only in the<br />
first movement, Kyrie, are there three such markings in the soprano part: in measure 6,<br />
tro: (Figures 5 and 6), in measure 27 Senz: trom:, and in measure 86 senz: tr:. According<br />
Figure 5<br />
W.A. Mozart, Mass in C Minor (K. 427), autograph score, fol. 1 r (Kyrie) (Staatsbibliothek<br />
zu Berlin—Preußischer Kulturbesitz, Musikabteilung mit Mendelssohn-Archiv).
to the editors of the Neue Mozart Ausgabe,<br />
WEINER<br />
Figure 6<br />
Detail of Figure 5.<br />
All indications for the participation of the trombones in the Kyrie were<br />
added to the autograph by Mozart only at a later point in time. This can be<br />
discerned at numerous places by the placement of the respective annotations<br />
or through the superscription over already existing characters. It is possible<br />
that Mozart performed this process rather mechanically and did not take<br />
care how often and in which part he placed the entries. 31<br />
149<br />
There is, however, weighty evidence for Mozart’s actual intentions. In the Sanctus, for example,<br />
Mozart himself wrote the indications <strong>Trombone</strong> Imo, <strong>Trombone</strong> 2do, and <strong>Trombone</strong> 3tio,<br />
corresponding to the alto, tenor, and bass vocal parts, respectively (Figures 7 and 8). Figure<br />
9 shows a brace from the Hosanna, marked 3 Tromboni, this too in Mozart’s hand.<br />
And last but not least, we have the <strong>Trombone</strong> Imo part from the first performance of the<br />
Mass in Salzburg in 1783 (Figure 10). This part is in the hand of Salzburg court musician<br />
Felix Hofstätter, who frequently copied music for the Mozart family. As can be seen, this<br />
part too corresponds to the alto voice line. There is obviously no place here for a soprano<br />
trombone. 32
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HISTORIC BRASS SOCIETY JOURNAL<br />
Figure 7<br />
W.A. Mozart, Mass in C Minor (K. 427), autograph score, fol. 69 r (Sanctus).<br />
Figure 8<br />
Detail of Figure 7.
WEINER<br />
Figure 9<br />
W.A. Mozart, Mass in C Minor, K. 427, autograph score, fol. 70 v (detail of Hosanna)<br />
151<br />
With this we have uncovered the main points of the hoax and exposed Kunitz’ history<br />
of the soprano trombone as a fabrication. Under normal circumstances, one would<br />
certainly dismiss Kunitz’ book as a bizarre mixture of fantasy and fact (with the former<br />
greatly outweighing the latter) in the guise of a serious treatment of the trombone’s history<br />
and usage. Yet Kunitz has managed to become an important source of “knowledge”<br />
about the soprano trombone, offering twenty-two pages of information on this instrument<br />
to those willing to overlook some very obvious flaws. Given the almost complete lack of<br />
documentary evidence concerning the soprano trombone, it is perhaps not surprising that<br />
many scholars and players have been willing to take Kunitz’ information at face value. Be<br />
that as it may, by refuting the myths that until now have obscured our view of the soprano<br />
trombone, I hope to have created a much-needed tabula rasa as starting point for serious<br />
research into the instrument’ history. To this end, I should also like to offer the early references<br />
and sources that I came upon while researching the present article.<br />
The earliest piece of evidence is an actual instrument: A soprano trombone by Christian<br />
Kofahl, dated 1677, is the earliest known instrument of this type (Figure 11). 33
152<br />
HISTORIC BRASS SOCIETY JOURNAL<br />
Figure 10<br />
W.A. Mozart, Mass in C Minor (K. 427), <strong>Trombone</strong> I mo part of the original performance<br />
material, Salzburg, 1783. (Reproduced with the kind permission of the Heilig Geist<br />
Kloster, Augsburg.)
WEINER<br />
Figure 11<br />
Soprano trombone by Christian Kofahl, Grabow (Germany), 1677 (Kremsmünster,<br />
Musikinstrumentenmuseum Schloss Kremsegg; photo by Lars Laubhold).<br />
153<br />
Several printed sources mention the soprano trombone. In his Abbildung der Gemein-<br />
Nützlichen Haupt-Stände (Regensburg, 1698), Christoff Weigel wrote that “the trombones<br />
are also made in various sizes, namely soprano, alto, tenor, bass, and quart trombones.” 34<br />
In a similar work, Johann Samuel Halle’s Werkstäte der heutigen Künste (Brandenburg and<br />
Leipzig, 1764), it is stated that “there are four trombones; soprano, alto, tenor, and quart<br />
or quint trombones.” 35 A third source comes from Norway: The Musikaliske Elementer by<br />
Johann Daniel Berlin was published in 1744 in Trondheim. In the chapter “On playing<br />
the cornett,” Berlin wrote,<br />
The cornett ... is generally used in loud and splendid music, and in accompaniment<br />
or together with trombones; it is employed on the highest part<br />
when there is no soprano trombone.<br />
§2. However, even in such a case [sic!], one still prefers the cornett to the<br />
soprano trombone, because the cornett can be played gracefully. 36<br />
Two manuscript sources from Leipzig are of interest to us here. Shortly after assuming<br />
the position of Thomaskantor in 1701, Johann Kuhnau submitted two inventories to<br />
the Leipzig town council, itemizing the music and instruments in the possession of the<br />
Thomasschule, the Thomaskirche, and the Nicolaikirche. In the second inventory, dated 22<br />
May 1702, he stated,
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HISTORIC BRASS SOCIETY JOURNAL<br />
Since the trombones are good church instruments, the ones here, however,<br />
very old and beat up and therefore not suitable to be used, it would be<br />
necessary to acquire new ones, and namely a pair of soprano trombones, in<br />
their stead. 37<br />
Later, another hand added, “ist geschehen” (“it has been done”). 38<br />
Almost seventy years later, on 2 August 1769, Johann Friedrich Doles, Bach’s pupil<br />
and successor as Thomaskantor (served 1756-1789), evaluated the playing of a candidate<br />
for the position of Stadtpfeifer:<br />
The 1st Kunstgeiger Pfaffe... 3) The simple chorale on the soprano, alto, tenor,<br />
and bass trombone (the last of which none of his colleagues plays better than<br />
he and his brother, and which requires good lungs) he played well. 39<br />
The earliest surviving works with soprano trombone parts also come from Leipzig, namely<br />
the three cantatas by Johann Sebastian Bach mentioned above. The above-mentioned Doles<br />
wrote twenty-six so-called figurierte Choräle and a cantata that require four trombones, with<br />
a soprano trombone apparently doubling the chorale melody in the highest voice. 40<br />
Two Passions by Georg Philipp Telemann have soprano trombone parts, although<br />
not in their original versions. A St. John Passion from 1761 and a St. Mark Passion from<br />
1767 were adapted in 1793 and 1788, respectively, by Telemann’s grandson Georg Michael<br />
Telemann for performances in Riga, where he was employed as church music director. 41<br />
And finally, there is a sizable repertoire of wind music with parts for soprano trombone,<br />
which comes from the Herrnhuter Brüdergemeine or Moravian Brethren. In Europe and<br />
in America the Moravians frequently employed a four-part trombone group with soprano,<br />
alto, tenor, and bass trombones. Among the collections of music from the second half of<br />
the eighteenth century that have come down to us are two from the Moravian community<br />
in Zeist, Holland. The first is a chorale book in score with 169 chorales for trombone<br />
quartet; 42 the second, preserved in part books, contains twenty-nine pieces for trombone<br />
quartet. 43 In the holdings of the Moravian Music Foundation in Winston-Salem, North<br />
Carolina, there is a manuscript containing six sonatas for trombone quartet written by a<br />
composer named Cruse 44 (Figure 12) and a set of trombone chorale books dating from<br />
around 1790 45 (Figure 13). A similar set of trombone chorale books is also preserved in<br />
the Brethren’s House, Lititz, Pennsylvania. 46<br />
Thus the soprano trombone apparently first appeared during the last quarter of the<br />
seventeenth century and found its primary usage in the Protestant Church, where it occasionally<br />
strengthened the soprano voice in the chorales. Foremost in using the instrument<br />
in this manner were the Moravians, who also developed an appropriate instrumental<br />
repertoire. In this way, the soprano trombone has led a marginal, yet honorable existence<br />
since the eighteenth century—and certainly has not deserved to have false honors heaped<br />
upon it by Hans Kunitz.
WEINER<br />
Figure 12<br />
6 Sonaten auf Posaunen die Cruse (Winston-Salem, NC, Moravian Music Foundation,<br />
SCM 261, Salem Collegium Musicum collection).<br />
155
156<br />
HISTORIC BRASS SOCIETY JOURNAL<br />
Figure 13<br />
<strong>Trombone</strong> chorale book (1790s?), soprano trombone part (Winston-Salem, NC, Moravian<br />
Music Foundation, SCM 261, Salem Collegium Musicum collection).<br />
Howard Weiner is a free-lance musician residing in Freiburg, Germany. He studied trombone<br />
with Frank Crisafulli at Northwestern University and early music at the Schola Cantorum<br />
Basiliensis.<br />
NOTES<br />
* This article is a revised version of a paper read at Toronto 2000: Musical Intersections. A Germanlanguage<br />
version appeared in the Michaelsteiner Konferenzberichte 60 (Blankenburg: Stiftung Kloster<br />
Michaelstein, 2001), pp. 67-82.<br />
1 Hans Kunitz, Die Instrumentation: Ein Hand- und Lehrbuch, vol. 8, Posaune (Leipzig: Breitkopf &<br />
Härtel, 1959). See also Hans Kunitz, Instrumenten-Brevier (Wiesbaden: Breitkopf & Härtel, 1961,<br />
2/1971).<br />
2 Works that cite Kunitz include the books The <strong>Trombone</strong> by Robin Gregory (London: Faber and<br />
Faber, 1973) and the Handbuch der Musikinstrumentenkunde by Erich Valentin (Regensburg: Gustav<br />
Bosse Verlag, 1986), the articles “Le <strong>Trombone</strong> alto” by Benny Sluchin in Brass Bulletin 61 (1988),<br />
“Strumenti a Fiato” by Georg Karstädt in the encyclopedia La Musica (Turin: Unione Tipografico-<br />
Editrice Torinese, 1966), and “Posaune” by Christian Ahrens in the new MGG (in which Ahrens at<br />
least calls some of Kunitz’ assertions into question). The Lexikon Musikinstrumente, ed. Wolfgang<br />
Ruf (Mannheim: Meyers Lexikonverlag, 1991), Reclams Musikinstrumentenführer by Ermanno Briner<br />
(Stuttgart: Philipp Reclam jun., 1988), and Jörg Richter’s article “Die Diskantposaune” in Brass Bul-
WEINER<br />
157<br />
letin 62 (1988) do not mention Kunitz, but the connection is clearly discernible.<br />
3 Kunitz, Posaune, p. 794. “Die Sopranposaune, auch Diskantposaune genannt, gehört von Anfang<br />
an, also spätestens seit Beginn des 16. Jahrhunderts zur Familie der Posaunen.”<br />
4 Ibid., p. 588. “Seit Anfang des 17. Jahrhunderts unterschied man folgende Arten ... der<br />
Posaune:”<br />
5 Michael Praetorius, Syntagma Musicum, vol. 2 (Wolfenbüttel, 1619; rpt. Kassel: Bärenreiter, 1958),<br />
pp. 32-33.<br />
6 An inventory from 1613 does mention “Zwey kleine alt oder Discant posaune” (“two small alto<br />
or discant trombones” but from the context it is obvious that, as in Praetorius, alto trombones are<br />
meant. In a later inventory (1636) of the same collection these instruments are listed as “Zwey kleine<br />
discant Posaunen.” See Ernst Zulauf, Beiträge zur Geschichte der Landgräflich-Hessischen Hofkapelle<br />
zu Cassel bis auf die Zeit Moritz des Gelehrten (Ph.D. diss., Universität Leipzig, 1902), pp. 118, 134.<br />
See also Anthony C. Baines, “Two Cassel Inventories,” Galpin Society Journal 4 (1951): 33.<br />
7 Kunitz, Posaune, p. 794. “Die Sopranposaune, auch Diskantposaune genannt, gehört von Anfang<br />
an, also spätestens seit Beginn des 16. Jahrhunderts zur Familie der Posaunen. Sie ist jedoch bereits<br />
nach verhältnismäßig kurzer Zeit sowohl bei den Instrumentalisten als auch demzufolge in der<br />
Fachliteratur in eine Art ‘Verruf’ gekommen, der bis auf den heutigen Tag nicht richtiggestellt<br />
worden ist. Schon Praetorius erklärt nämlich im Jahre 1618, daß die Sopranposaune ‘an Klang und<br />
Applikatur nicht genüge’ und dieses in einem so bedeutenden und maßgebenden Werke, wie es sein<br />
‘Syntagma musicum’ war, enthaltene Urteil ist durch alle folgenden Jahrhunderte hindurch kritiklos<br />
hingenommen worden, und zwar sowohl von der Fachliteratur als auch von den Komponisten<br />
und den Instrumentalisten.”<br />
8 Ibid., p. 589. “Die hierfür von Praetorius angegebene Begründung, daß die Sopranposaune den<br />
übrigen Posaunen an Klang und Technik nicht gleichgekommen sei, kann nicht als zutreffend<br />
angesehen werden.”<br />
9 Praetorius, Syntagma II, p. 31. “Alt oder Discant Posaun: ... mit welcher auch ein Discant gar wol<br />
und natürlich geblasen werden kan: Wiewol die Harmony in solchem kleinen Corpore nicht so gut,<br />
als wenn auff der rechten gemeinen Posaun, durch guten Ansatz und Übung, ein solche höhe kan<br />
erreichet werden.”<br />
10 Hermann Eichborn, Die Trompete in alter und neuer Zeit (Leipzig: Breitkopf & Härtel, 1881), p.<br />
23. “an Klang und Applikatur nicht genüge.”<br />
11 Kunitz, Posaune, p. 589. “Der wirkliche Grund für ihre seltenere Verwendung lag vielmehr<br />
zweifellos in der mangelnden Fähigkeit und Bereitschaft der Spieler, sich mit diesem Instrument<br />
zu befassen.”<br />
12 Ibid., p. 796 “die Indolenz und das mangelnde technische Können.”<br />
13 Ibid., p. 795. “Als nun der in der Renaissance technisch verbesserte, jedoch klanglich nach wie<br />
vor sehr minderwertige Zink (cornetto bzw. cornettino) in der Barockzeit immer mehr in Gebrauch<br />
kam, machten es sich die Instrumentalisten vielfach leicht und verwendeten an Stelle der schwer zu<br />
bedienenden Sopranposaune einfach den infolge seines Grifflochsystems leicht spielbaren Zink.”<br />
14 Ibid., p. 795. “In derartigen Fällen also, in denen der Zink als oberste Stimme eines geschlossenen<br />
Posaunensatzes eingesetzt ist, handelte es sich um eine Verlegenheitslösung.”<br />
15 Ibid., p. 795. “den rohen und unedlen, glanzlosen Klang des primativen Zinken.”<br />
16 Ibid., p. 797. “Nach alledem ist der Zink überhaupt nicht als ein der Kunstmusik zugehörendes<br />
Instrument anzusehen.”<br />
17 See for example Marin Mersenne, Harmonie universelle (Paris, 1636); Giovanni Maria Artusi, Delle<br />
Imperfettioni della Moderna Musica (Venice, 1600); Girolamo Dalla Casa, Il Vero Modo di Diminuir<br />
(Venice, 1584); Johann Mattheson, Das Neu-Eröffnete Orchestre (Hamburg, 1713); Johann Mattheson,
158<br />
HISTORIC BRASS SOCIETY JOURNAL<br />
Der Vollkommene Capellmeister (Hamburg, 1739); Roger North (ca. 1720), Roger North on Music,<br />
ed. John Wilson (London: Novello, 1959).<br />
18 Kunitz, Posaune, p. 794. “Die großen Meister wie z.B. Schütz, Bach, Gluck und Mozart setzten<br />
die Sopranposaune jedoch in dem damals, und zwar bis Ende des 18. Jahrhunderts, üblichen vierstimmigen<br />
Posaunensatz ein.”<br />
19 Ibid., p. 589. “Die Sopranposaune [war] zunächst ein vollwertiges Mitglied der Posaunengruppe,<br />
wie z.B. aus den Werken von Heinrich Schütz zu erkennen ist, in denen der geschlossene, von Sopran-,<br />
Alt-, Tenor- und Baßposaune gebildete vierstimmige Posaunensatz zu finden ist.”<br />
20 Ibid. “Wie bereits dargelegt ... herrscht in den Werken von Heinrich Schütz noch der vierstimmige<br />
Satz mit der Sopranposaune vor.”<br />
21 Ibid., p. 797. “übliche Notierungsweise.”<br />
22 Ibid., p. 798. “den seit Jahrhunderten üblichen reinen vierstimmigen Posaunensatz.”<br />
23 Ibid., p. 797. “Bach [ist] als einer der letzten Vertreter des reinen vierstimmigen Posaunensatzes<br />
unter Verwendung der echten, vom Sopran- bis zum Baßinstrument reichenden Posaunenfamilie<br />
anzusehen, dessen übliche Notierungsweise: [Sopran-, Alt-, Tenor-, Baßschlüssel] auch seine Partituren<br />
beherrscht, wo er Posaunen verwendet, wenn er auch bisweilen ... die oberste Stimme mit<br />
‘Cornetto’ bezeichnet.”<br />
24 A whole-tone transposition was necessary to bring the trombones, which were in “choir pitch,”<br />
down to the “chamber pitch” of the woodwind and string instruments. This transposition is reflected<br />
in the surviving trombone parts as well as in the organ and some of the cornett parts of the original<br />
performing material.<br />
25 Ibid., p. 808. “Zu bemerken ist noch, daß die ‘Cornetto’ Stimmen in den Kantaten Bachs in denjenigen<br />
Fällen wohl tatsächlich nur für den Stadtpfeiffer-Zink geschrieben sind, in denen sie ohne<br />
satzmäßigen Zusammenhang mit den Stimmen der Posaunen mit einfachen, gehaltenen Tönen den<br />
Cantus firmus des Chores verstärken.”<br />
26 Ibid., p. 797. “Immerhin hatte besonders zu Beginn des 18. Jahrhunderts die eigenmächtige Gepflogenheit<br />
der Instrumentalisten, einfach den Zink an Stelle der vorgeschriebenen, aber technisch<br />
schwieriger zu bewältigenden Sopranposaune zu verwenden, eine solche Verbreitung gefunden, daß<br />
sich nicht nur ein Genie wie Joh. Seb. Bach zu Konzessionen bereitfinden mußte, um eine Aufführung<br />
seiner Kantaten überhaupt zu ermöglichen, sondern daß man bisweilen sogar die Sopranposaune<br />
selbst als ‘Cornetto’ bezeichnete.”<br />
27 Ibid., p. 798. “So setzte auch Gluck in der italienischen Fassung der Partitur seines ‘Orpheus’ ...<br />
die Sopranposaune unter der Bezeichnung ‘Cornetto’ ein.”<br />
28 Hector Berlioz, Grand Traité d’Instrumentation et d’Orchestration modernes (Paris, 1843), p. 199. “Gluck<br />
seul, dans sa partition italienne d’Orfeo, a écrit le <strong>Trombone</strong> soprano sous le nom de Cornetto.”<br />
29 Hector Berlioz, “L’Orfée de Gluck,” A travers chants, Ètudes musicales, adorations, boutades et critiques<br />
(Paris 1862), pp. 110-11. “Il y avait, à l’époque où Gluck ècrivit l’Orfeo à Vienne, un instrument<br />
à vent dont on se sert encore aujourd’hui dans quelques églises d’Allemagne pour accompagner les<br />
chorals, et qu’il nomme cornetto. Il est en bois, percè de trous, et se joue avec une embouchure de<br />
cuivre on de corne semblable à l’embouchure de la trompette.<br />
Dans la cérémonie religieuse funèbre qui se fait autour de tombeau d’Eurydice, au premier acte<br />
d’Orfeo, Gluck adjoignit le cornetto aux trois trombones pour accompagner les quatre parties du<br />
choeur.”<br />
30 Kunitz, Posaune, p. 806. “die Posaunenstimmen ausdrücklich als Posaune I - IV bezeichnete.”<br />
31 Wolfgang Amadeus Mozart, Messe in c (KV 427), ed. Monika Holl and Karl-Heinz Köhler, Neue<br />
Mozart Ausgabe I/1/1, vol. 5, (Kassel, Basel, etc. 1983), p. XVII. “Alle Bemerkungen zur Mitwirkung<br />
der Posaunen im Kyrie wurden von Mozart erst zu einem späteren Zeitpunkt in das Autograph
WEINER<br />
159<br />
nachgetragen, wie an mehreren Stellen durch die Plazierung der betreffenden Anmerkung oder durch<br />
das Darüberschreiben über bereits vorhandene Schriftzeichen zu erkennen ist. Es ist möglich, daß<br />
Mozart diesen Arbeitsgang mehr mechanisch ausführte und nicht so sehr darauf achtete, wie oft und<br />
in welchen Stimmen er Einträge anbrachte.”<br />
32 And Kunitz presumably would have resisted the temptation to designate his beloved soprano<br />
trombone as “<strong>Trombone</strong> nullo.”<br />
33 This instrument was recently purchased by the Trumpet Museum Schloss Kremsegg, Austria.<br />
See Lars Laubhold, “Sensation or Forgery? The 1677 Soprano <strong>Trombone</strong> of Christiann Kofahl,”<br />
Historic Brass Society Journal 12 (2000): 259-265. Anthony Baines (Brass Instruments: Their History<br />
and Development, [London and Boston: Faber & Faber, 1976, 2/1978], p. 179), cites the soprano<br />
trombone made in 1733 by J.H. Eichentopf, Leipzig, as the oldest extant instrument of this type.<br />
This instrument, formerly in Breslau (Wroclaw), was apparently lost or destroyed during World War<br />
II, but is documented in the catalogue of the former Breslau collection (Schlesisches Museum für<br />
Kunstgewerbe und Altertümer, Führer und Katalog zur Sammlung alter Musikinstrumente, ed. Peter<br />
Epstein and Ernst Scheyer [Breslau: Verlag des Museums, 1932], p. 43). Sometimes falsely cited<br />
(based on the information in Lyndesay G. Langwill, An Index of Musical Wind Instrument Makers,<br />
[Edinburgh: Langwill, 5/1977], p. 93) as the oldest soprano trombone is an instrument from 1697<br />
by Johann Karl Kodisch, Nuremberg, now in Burgdorf Castle, Burgdorf, Switzerland; it is in fact<br />
a tenor trombone.<br />
34 Christoff Weigel, Abbildung der Gemein-Nützlichen Haupt-Stände (Regensburg 1698), p. 233.<br />
“Die Posaunen sind ebenfalls unterschiedlicher Gattung / als Discant- Alt- Tenor- Baß- und Quart-<br />
Posaunen.”<br />
35 Johann Samuel Halle, Werkstäte der heutigen Künste (Brandenburg and Leipzig 1764), p. 371.<br />
“Posaunen gibt es vier; Discant- Alt- Tenor und Quart- oder Quintposaune.”<br />
36 Johann Daniel Berlin, Musikaliske Elementer (Trondheim 1744). Cited in Petra Leonards, Edward<br />
H. Tarr, und Bjarne Volle, “Die Behandlung des Zinken in zwei norwegischen Quellen des 18. Jahrhunderts,”<br />
Basler Jahrbuch für historische Musikpraxis, 5 (1981): 347-360, here 352.<br />
37 Cited in Arnold Schering, “Die alte Chorbibliothek der Thomasschule in Leipzig,” Archiv für Musikwissenschaft<br />
1 (1918/19): 275-288, here 280. “Die weil die <strong>Trombone</strong>n gute Kirchen Instrumente, die<br />
izo vorhanden aber ganz alt und zerbeugt sind, daher auch nicht wohl zum Gebrauch dienen, so wäre<br />
nöthig daß an deren Stadt andere neue, und zwar ein Paar Discant <strong>Trombone</strong>n angeschafft würden.”<br />
From references in the same document to “3 alte <strong>Trombone</strong>n, alß Alt, Tenor u. Baß <strong>Trombone</strong>,” and<br />
elsewhere in the same document to “3 alte <strong>Trombone</strong>n, nehmlich 2 Tenor und 1 Alt Trombon,” we<br />
can be reasonably certain that Kuhnau’s Discant <strong>Trombone</strong>n are instruments of soprano size.<br />
38 Ibid.<br />
39 Cited in Arnold Schering, “Die Leipziger Ratsmusik von 1650 bis 1775,” Archiv für Musikwissenschaft<br />
3 (1921): 17-53, here 45. “Der 1ste Kunstgeiger Pfaffe... 3) Den simplen Choral auf der<br />
Discant- Alt- Tenor- und Baß-Posaune, (welche letztere niemand unter seinen Collegen beßer als er<br />
und sein Bruder bläßt, und die eine gute Lunge erfordert), hat er gut geblasen.”<br />
40 According to Johann Adam Hiller (Wöchentliche Nachrichten und Anmerkungen die Musik betreffend,<br />
Leipzig, 23 October 1769; rpt. Hildesheim and New York: Olms, 1970), “the chorale is sung<br />
in four parts by the choir to the ususal melody, and to support it the composer takes recourse to a<br />
choir of trombones.” (“Der Choral wird von dem Chore nach der gewöhnlichen Melodie vierstimmig<br />
gesungen, und zur Verstärkung desselben nimmt der Componist ein Chor Posaunen zu Hülfe.”)<br />
My efforts to obtain copies of works by Doles containing trombone parts have been unsuccessful;<br />
the holdings of the Thomasschule, including practically all of Doles’ autographs as well as his works<br />
with trombones, were presumably destroyed in December 1943 (personal communication from the
160<br />
HISTORIC BRASS SOCIETY JOURNAL<br />
Bach-Archiv Leipzig, 15 November 2000). See also Helmut Banning, Johann Friedrich Doles, Leben<br />
und Werke (Diss. Friedrich-Wilhelm-Universität Berlin, 1939), pp. 149 and 198-245.<br />
41 Both works are in the holdings of D-B: Johannes-Passion (Mus. ms. 21 705 — TVWV 5:46);<br />
Markus-Passion (Mus. ms. 21 707 — TVWV 5:52). See Georg Philipp Telemann: Autographe und<br />
Abschriften, ed. Joachim Jaenecke, Staatsbibliothek zu Berlin - Preußischer Kultutbesitz, Kataloge der<br />
Musikabteilung I/7 (Munich: Henle 1993), pp. 140-143. I would like to thank Kantor Johannes<br />
Pausch, Hamburg, for calling my attention to the soprano trombone parts in these two works.<br />
42 See Klaus Winkler, “Die Anfänge der Bläsermusik bei der Herrnhuter Brüdergemeinde im 18.<br />
Jahrhundert,” Das Musikinstrument 43 (1994): 58-67.<br />
43 Rijksarchief Utrecht, Ms. Z 1157. This manuscript contains twenty-three numbered “sonatas,”<br />
six unnumbered pieces including God Save the King and Rule Brittania, as well as fragments of seven<br />
other pieces. A modern edition of the “sonatas” has been published as 23 Herrnhuter Sonaten, ed.<br />
Ben van den Bosch (Munich: Strube Verlag, 1988)<br />
44 6 Sonaten auf Posaunen die Cruse. Collections of the Moravian Music Foundation, Winston-Salem,<br />
NC, catalogue number SCM 261 (Salem Collegium Musicum collection). (Sonatas 4-6 are missing<br />
the soprano part.) See also Winkler, “Die Anfänge,” pp. 61 and 64. Modern edition of Sonata No.<br />
3, ed. Edward H. Tarr and Harry H. Hall (Cologne: Wolfgang G. Haas Verlag, 1997).<br />
45 Set of trombone partbooks, copied by Johann Friedrich Peter (1790s?). Collections of the Moravian<br />
Music Foundation, Winston-Salem, NC, catalogue number SB 14.<br />
46 Communication from Stewart Carter, 13 November 2000.